Peer Review: Scottie Cameron

Who are three contemporaries that you admire?

Keith Schofield is someone I really admire. His work is all high concept but with super simple ideas executed so well. A wonderful music video he made that comes to mind is the Justice remix of Let Love Rule. The concept is rolling film credits that start interacting with the actor. One of those ideas makes you go, “Why didn’t I think of that!?”

Just make stuff, and keep on making stuff for the love of it. 

Hiro Murai is another. Maybe not so much a contemporary as he’s a living legend at this stage, but let’s run with it. Again the films, shows, and music videos are such simple ideas that are executed to perfection, letting the story come through without pretence or unnecessary validation. His art direction, photography, and pace are just always spot on. 

Another is more of a collective, but MEGAFORCE from France are super inspiring. They execute fresh ideas really well. The use of special effects and CGI integrated into what seems like analog concepts is a joy to watch. Their commercial for BURBERRY, Festive, was a perfect example of that. 

Please share 3-4 pieces of work that exemplify great direction?

In the commercial space, I have always loved HONDA's Impossible Dream commercial. It has all the ingredients: big concept, big song, and great performance. It gives you the feels from the very first frame, and I love how each Honda vehicle in it is treated perfectly for what it is. The mini motorbike frames are locked off, the racing bike you’re right up in there, and the hot air balloon is given the majestic space it needs. It leaves you with a smile on your face, it’s great.

I like silly ideas that are treated very seriously, so being able to keep doing that is a joy for me.

In the film world, and probably from growing up skateboarding, all of Spike Jonze’s madness is wonderful to me, especially his first feature Being John Malkovich. It was an utterly ridiculous concept, and all played so straight. In the wrong hands, that script could have gone sideways, but it was presented in such a way that we all just went along for the ride; that’s great direction to me.

Punch Drunk Love by Paul Thomas Anderson is another film that comes to mind when I think of great direction. Such an incredible through-line of premise –  guy collecting free airline miles whilst falling in love, all while being extorted. What a combo of events. The anxiety and tension built up with the score are so good. For that madness to all marry up, you need to show real restraint, or (yet again) it could just go off the rails. Throw in the left field casting decision of Adam Sandler, and it’s a match made in heaven.

What do you like most about the work that you do?

I’d like to think that I get to do me for the most part. It’s tricky sometimes to remember not to lean into what somebody else imagines you to be. Trying to put yourself in someone else's headspace can end in disaster. I like silly ideas that are treated very seriously, so being able to keep doing that is a joy for me. Case in point, this film I made: El Portafolio.

There’s a lot of chatter about the social medias, the tiky tokies, the AI, and etc, but you’d like to think that it has and always will be the honesty in telling a story.

What was your journey to becoming a director?

It started with watching skateboard videos, hanging out with people filming skateboarding, and seeing how it all comes together in the edit, with music, etc. It was a real dumb moment of “Huh, that’s how it’s done.” Then seeing people like Spike, Mike Mills, etc, who all come from skateboard backgrounds, do these bigger projects outside of skateboarding proved that maybe anyone, even me, could do it too. Just make stuff, and keep on making stuff for the love of it. 

What is one thing all directors need?

A good pair of pants. You can’t direct if you don’t have good pants. Oh, and a way to get to set. 

 A pen and paper used to do the same thing as a screenwriting program on your computer, so it’s all just about the idea. 

Who was the greatest director of all time? 

Stanley Kubrick was, but Aki Kaurismäki is; because he’s still alive. Aki is the best because he truly doesn’t care what anyone thinks and just makes the most beautiful and poignant films imaginable. It’s almost anti-directing, letting the actors just say their lines deadpan, but combined with the impeccable art direction and subject matter; it all just sings.